The film, based on the 1922 novel, Salome of the Tenements by Anzia Yezierska, marked director Sidney Olcott’s first assignment for Paramount Pictures Corp., according to the 4 October 1924 Moving Picture World. Principal photography was expected to begin the following month at Famous Players-Lasky Corp.’s Astoria, NY, studio. The scheduled start of production was later confirmed in the 15 November 1924 Exhibitors Trade Review. A news item in in the 22 November 1924 Moving Picture World included Louisa Mackintosh and Beatrice Gaines among the cast. The February 1925 Photoplay credited costumer Hattie Carnegie with designing at least one outfit for lead actress Jetta Goudal.
On 23 November 1924, Film Daily reported that Olcott invited editors from several entertainment trade magazines to inspect his Yiddish newspaper print shop set at the Astoria studios. However, the 6 December 1924 Exhibitors Trade Review later revealed that the group appeared on camera as the newspaper staff and gave a somewhat clumsy performance. They included Joseph Dannenberg of Film Daily; William A. Johnston of Motion Picture News; Martin Quigley and John Spargo of Exhibitors Herald; and Willard C. Howe and James Cron of Exhibitors Trade Review.
According to the March 1925 Motion Picture, Olcott hired 500 background actors for a scene depicting Ludlow and Hester Streets on the Lower East Side of New York City. One of the actors, who lived in the actual neighborhood, noticed lace curtains hanging over a shop window and informed the director that no such thing could be seen on Hester Street. The set was located in the facility’s upper stage, and was said to have been the largest ever constructed at the Astoria studios. The 27 December 1924 Moving Picture World reported that lead actor Godfrey Tearle had sailed for England ten days earlier, indicating the close of production.
Salome of the Tenements was released on 23 February 1925 as one of Paramounts “Second Famous 40.” Preceding the release was a Boston, MA, opening at the Fenway Theatre on 14 February 1925, and a New York City opening at Loew’s New York Theatre on 22 February 1925. Critical notices were mixed: While the 25 February 1925 Variety lamented the trite plotline and Godfrey Tearle’s lack of “screen personality,” the 28 March 1925 Exhibitors Trade Review predicted that the film would be a big attraction at smaller theaters.